5 Sci-Fi Tropes I Could Live Without

Among the many styles and genres of fiction which I enjoy, I must unashamedly confess to a particular fondness for popular sci-fi and fantasy. Yes I know it’s all just unrealistic escapism into a nonsense world of space adventures, suspiciously human shaped aliens and humanity being conquered by the very robots we built to help us but still… it’s fun. And you know… fun’s allowed, even if you like serious literature.

All the same… there have to be limits. But for some reason, sci-fi is just chock full of certain clichéd tropes, some of which are so very ridiculous that it frankly beggars belief that they ever became clichés. The others are just plain done to death. What follows are some of my (least) favourites.

The Holographic Hook

You’ve got to write a space opera and are struggling to come up with an exciting opening scene to draw the audience in from the very beginning. Solution: an exciting space battle! Ships firing at one another, hand to hand combat between aliens and humans, lasers, explosions–

Then an admiral calmly walks onto the scene and ends the simulation. It was all just a holographic training exercise!

This kind of scene, made famous by the Kobayashi Maru scene in Star Trek II: The Wrath of Khan (and then repeated time and time again in one form or another), gives the audience a burst of excitement that has very little bearing on the story which is to follow. The best it can do is foreshadow some internal conflict the protagonist may face later on in the story.

Please… it’s been done too often. Put some effort in and come up with a proper hook for your story.

Is That You Clive?

You’re alone on an abandoned space station or a spooky castle. Or maybe you’re just home alone, meticulously colouring in your colouring-in book on a dark and stormy night. Suddenly you hear something… something rattling, hissing, banging… perhaps even a sinister inhuman voice whispering your name.

You spin around wildly.

‘Is that you Clive?’

No. No, it’s not Clive. It’s never Clive. And really, ask yourself, is this the sort of thing Clive normally does? If it is… you need to dump Clive and get yourself some nicer friends. Just saying.

Just once I’d like to read or watch something where the victim doesn’t automatically assume that the scary noise is their friend pulling a cruel prank on them. Or better still, just once, I’d like it to really be Clive pulling a cruel trick. At least I’d be surprised.

Hey Clive, Are Those New Horns?

Something terrible has happened to Clive. He’s being controlled by an alien or replaced with a robot duplicate. His behaviour is erratic. His speech has become strange. His eyes have turned luminous green and he has grown horns.

And no one really notices until it’s too late.

My personal favourite example of this occurs in the Doctor Who episode, Rose. Rose returns to her boyfriend’s car to find he is now made entirely of plastic and is talking funny. And what does she do?

Goes out for dinner with him. She suspects nothing until the Doctor fires a corkscrew straight through his skull without injuring him. And she’s supposed to be his girlfriend.

Sigh. 

We, The People of Earth…

So it finally happened. Aliens have made contact with humanity. They may have come in peace or they may have come laser guns blazing, but one way or another, it’s first contact day for the people of Earth.

You know Earth, don’t you? Seven-point-four billion different versions of the truth, spread across one hundred and ninety five independent sovereign states (to say nothing of those who want to break away and start their own nation or conquer others) all gathered together on one planet, unable to agree on even the most trifling of matters?

A whole host of different political ideologies, systems of government, international treaties and religious beliefs, and yet when the aliens finally come, humanity all rallies around a single leader, or at the very least, sets aside all their differences. Usually it’s the President of the USA, except in Doctor Who where it can be just about anyone except the President. In any event, I have a sneaking suspicion that if aliens did make themselves known to us today, humanity would not respond with a single unified voice, or even two or three differing voices. Call me cynical but I think it would probably be chaos.

Ask yourself this. If aliens landed on Earth today:

How would Donald Trump respond?
What about Kim Jong-Un?
What about Angela Merkel?
What about ISIS?
What about the Pope?
What about the World Health Organisation?
The Scottish National Party?
The British National Party?
Richard Branson?
Kim Kardashian?
The writers of Doctor Who?
The guy that sells the Big Issue in the town centre?

You get the idea.

Magical Alien Artefacts

I don’t really have a problem with functioning magical artefacts if you’re writing a fantasy, set in a world of magic and myth, rather than a sci-fi set in space and/or the future. At its core, sci-fi (even silly popular sci-fi) tends to speculate on the advancement of technology and science, rather than the possibility that magic might actually work. If we are assuming that magic is not real, as sci-fi tends to do, we have to ask some serious questions about why it would work on an alien planet.

‘Ah, but, you see, it’s not really magic!’ I hear you cry. ‘It’s just technology that seems like magic!

But if it’s just technology… why dress it up like magic? Star Trek is very guilty of this. Whether it’s the legend of the Tox Uthat (a quantum phase inhibitor which appeared in TNG: Captain’s Holiday), or Vulcan mythology concerning the psionic resonator (TNG: Gambit), there just seems to be no end of magical artefacts in space which are actually just very clever technology. Technology made of stone. Stone technology that does magic. Heck, some even involve meditating and muttering incantations.

Dishonourable Mentions:

  • Everybody knows how to fly every kind of spaceship in the universe, even if it is of completely alien design.
  • Everybody knows everything about science.
  • Rough alien taverns. Just once, give me a classy alien wine bar.
  • With just a slight modification to the engine/shields/BBQ grill, we can do some sci-fi magic to save the day!
  • The bad guys believe emotion is a weakness and that is their Achille’s heel.
  • Love conquers all (exemplified in the Doctor Who episode Closing Time, where Craig is turned into a Cyberman then somehow manages to turn himself back into a human simply because he hears his baby son crying… as if he was the first parent the Cybermen ever upgraded. Seriously, I preferred it when the Cybermen’s greatest weakness was gold).
  • Universal translators.
  • Legendary technology, planets or lifeforms which really do exist.
  • Having a weapon of mass destruction called ‘The Weapon’. By all means call it the Super Zappy Death Ray, but don’t call it The Weapon. Use your imagination and give it a name.
  • Shooting the control panel/monitor shuts down everything on the entire spaceship, unlocks every locked door and/or disarms the Weapon.
  • Snippets of news reporters telling the general public how to survive the alien invasion. I repeat, do this to survive the alien invasion!
  • Jeanie who works at the shop is actually THE PROPHESIED CHOSEN WARRIOR QUEEN OF ALL THE MULTIVERSE and she doesn’t even realise it.

Well that was a far from exhaustive list but I’m glad to have got it off my chest anyway. Thanks for taking the time to read this post. Be sure to leave us a wee comment below and don’t forget to ‘like’ this post and follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what reverses your polarity.

Until next time!

Super Snappy Speed Reviews: Star Trek Edition

SPOILER ALERT

While every effort has been made to avoid spoilers in this post, anyone who has not seen all of the films in the Star Trek franchise is hereby advised that this post may contain a few unavoidable spoilers.

The day we’ve all been waiting for with a combination of both hope and dread is finally here. Star Trek: Discovery premieres in America today, and so, in honour of this momentous occasion (and since we Brits won’t be getting it until tomorrow), I am pleased to present Super Snappy Speed Reviews: Star Trek Edition!

We’ve already had super snappy speed reviews for books (twice, in fact), TV shows and films but today it’s going to be a bit different. Today I’ll be reviewing all thirteen Star Trek films in order of release. As ever, these reviews only reflect my own personal opinions and impressionsphasered, disruptored and bat’lethed into just two or three sentences. So without further ado…

Star Trek: The Motion Picture

While it has a lot of the elements we might look for in a good Star Trek episode, The Motion Picture is spoiled by ridiculously slow pacing.  Buckets of atmosphere but not much else to say in its favour.

My rating: 🖖🖖

Star Trek II: The Wrath of Khan

This film’s got it all: a familiar antagonist with a score to settle, exciting space battles and plenty of sub-plot. Arguably the best film in the entire franchise.

My rating: 🖖🖖🖖🖖🖖

Star Trek III: The Search for Spock

I can’t say much about this without giving away spoilers galore but suffice to say it’s a good popcorn muncher and is integral to the overall Star Trek canon. Its main let-down is the half-baked antagonist: a random Klingon with no redeeming qualities trying to steal a technology which he thinks will make a good weapon of mass destruction.

My rating: 🖖🖖🖖🖖

Star Trek IV: The Voyage Home

Definitely the most light-hearted of the Star Trek movies. Plenty of humour, a casual ecological moral and no real antagonist to speak of (okay, there is a giant probe thing threatening to destroy Earth, but only because it wants to make friends with some humpback whales and earth doesn’t have any them any more)

My rating: 🖖🖖🖖

Star Trek V: The Final Frontier

The rest of the world seems to hate this film but I quite enjoyed it. Sybok was a particularly interesting antagonist, in that he seemed to be well-meaning, if badly misguided. It probably could have benefited from unpacking some of the more important themes, however.

My rating: 🖖🖖🖖

Star Trek VI: The Undiscovered Country

My favourite Star Trek films and episodes are always those which focus on interstellar politics, particularly the Federation’s tense relations with the Klingon Empire. If that’s your flavour too then this film’s got it all: conspiracies, interstellar peace talks and even a Klingon courtroom scene.

My rating: 🖖🖖🖖🖖🖖

Star Trek: Generations

This film has a great bad guy (although I could have done without the Duras sisters…), strong themes and apart from being a little on the slow side at points, is generally well paced. The (mostly humorous) subplot concerns the previously emotionless android, Data, now fully equipped with emotions he can’t control, which is funny at first, then gets serious before kind of just fizzling out and resolving itself without explanation.

My rating: 🖖🖖🖖🖖

Star Trek: First Contact

If Wrath of Khan isn’t my favourite in the franchise, this one is. Excellent acting, strong writing and well paced. The Borg Queen in particular provides the previously faceless Borg Collective with a leader who is as subtle and seductive as she is evil. Unfortunately, this film does also include my least favourite line of dialogue in all of Star Trek history: ‘You people, you’re all astronauts on… some kind of star trek?’

As an aside, non-Trekkies should not begin here; this film is full of important references to the TV series.

My rating: 🖖🖖🖖🖖🖖

Star Trek: Insurrection

This might’ve worked as a TV episode, but as a film it’s just boring, boring, boring with extra boring on top. Some dude we’ve never heard of (with a simply appalling plastic surgeon), from a race of aliens we’ve never heard of wants to chase some helpless innocent people we’ve never heard of away from their planet and Picard doesn’t like it and… zzzzzzzzz…

My rating:  🖖🖖

Star Trek: Nemesis

Tom Hardy and Patrick Stewart’s acting as Shinzon and Captain Picard respectively are about the only things this film really has going for it. In theory, the premise had lots of potential but it turned out to be a bit of a poorly written non-story about a disgruntled clone who decides to kill everybody with a particularly nasty WMD, only to be thwarted by an inevitable act of self-sacrifice from one of the heroes.

My rating:  🖖

Star Trek

As reboots (especially prequels) go, this was a zillion times better than I thought it was going to be. It features, quite simply, some of the best plotting, characterisation and pacing I’ve seen in a Star Trek film. There are a few inconsistencies with prime universe that are not explained by the time travel story but nothing anyone but the most knit-picky of fans would worry about.

My rating: 🖖🖖🖖🖖

Star Trek Into Darkness

Take all your favourite scenes from Wrath of Khan, mix them up a bit and boom! You’ve got Star Trek Into Darkness! Even so, with its strong plot, superb acting (especially from Benedict Cumberbatch) and plenty of excitement, this remains my favourite Star Trek film since First Contact.

My rating:  🖖🖖🖖🖖🖖

Star Trek Beyond

After Insurrection and Nemesis, Star Trek Beyond is my least favourite Star Trek film. The writers clearly decided to forget about pacing, characterisation and all that boring stuff and created a non-stop heart-pumping thrill ride instead. Great acting though, I’ll give it that. Click here for a more detailed review on this film.

My rating: 🖖


Thanks for taking the time to read this post. Be sure to leave us a wee comment if you enjoyed it and don’t forget to ‘like’ and share this post and follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what crystallises  your dilithium.

Live long and prosper.

7 Things I Hate In Fiction

No matter what genre of fiction or medium of story-telling you’re into (even if you’re into nearly all of them, like me!), we all have our own little things in fiction that we don’t like. Sometimes it’s the little things that can absolutely ruin an otherwise potentially good story for us and make us seriously think about leaving it unread/unwatched/unlistened to.

For your enjoyment, therefore, I have compiled a list of my own fiction bugbears with expositions. Maybe you won’t agree with them all. That’s okay. I’m not for one second suggesting any of these are hard and fast rules about what constitutes a bad story. These are just things that, for me, are a bit of a turn-off. So without further ado and in no particular order…

Obvious Morals

Don’t get me wrong. I definitely think it’s a good thing for stories to say something meaningful about real life. I’m not knocking stories that have morals to them. I’m not even knocking controversial morals. Quite the reverse, a good story definitely should have true and important morals or observations about life. But there’s nothing that puts me off reading a book or watching a film/TV show/play quite like that horrible sinking feeling you get in the first five minutes when you think to yourself: ‘I think I know where this is going…’

Even if it’s something I profoundly agree with, that’s not the point. I don’t read stories to be preached at, whether I agree with the message or not. Entertain me, and by all means make me think, but don’t preach at me.

Excessive and/or Long Fight Scenes

On TV and film, I can just about(!) put up with drawn out fight scenes, but in novels… boy, I find them tedious. They’re often either too detailed (and so, the pace is dragged right down at what should be the most exciting part) or else they’re not detailed enough and I lose the thread of what’s going on entirely. If you’re going to write a fight scene, I want it to be described in such a way that I feel like I’m really there witnessing it, which must by necessity include experiencing the danger and urgency of being in a battle. It can be done with words, but only a few writers seem to be able to do it in a way I find truly enjoyable.

More on fight scenes here.

Unnecessary Profanities

Sometimes in adult fiction, a little profanity may be justified, if it becomes the character (remember boys and girls, a character’s voice can have a profound impact on their identity). After all, in real life, people do sometimes use foul language. However, I find that in fiction, it loses its effectiveness very quickly and can come across as a fairly amateurish attempt at generating tension. Therefore, use it sparingly. If you’re struggling, watch the soaps for some inspiration: Eastenders, Coronation Street, Emmerdale and so forth.

No, really, hear me out. I don’t have a lot of good things to say about soaps, but I’ll give them this: because they’re usually on before the watershed, the writers of these shows are forced to generate tension and outright screaming matches between characters without using a single profanity. Study these carefully if you’re really struggling to write tense dialogue without the potty-mouth.

Flashbacks

As a rule of thumb, I find that flashbacks tend to interrupt the pace of the narrative too much. In addition, I often find that they are simply used as a way to info dump the backstory and as we all know, info dumping is bad, bad, bad. I might, possibly, maybe let you away with them if the story absolutely requires that one character tells another character a lengthy, detailed story about something that happened in the past (Agatha Christie’s Poirot novels, for example, frequently include flash back style chapters where one witness is telling Poirot their version of events) but on the whole, I find flashbacks a bit of a drag.

All Action; No Substance

If I wanted a meaningless thrill ride, I’d just go to Alton Towers. Don’t get me wrong, a bit of excitement is needed to keep up the momentum of your story, but if the protagonist is doing nothing but jumping over walls, dodging bullets and crashing helicopters from the outset, I won’t have any opportunity to get under the his skin enough to sympathise with him or understand his goals and motives.

All Substance; No Action

The opposite is also true. I know I want to understand the characters’ goals and motives, and I know I want the odd profound or emotional scene but I don’t want to be bored to tears either. Sooner or later, we need a bit of excitement.

Call Your Story Confessions of an [Optional Adjective] [Noun]

This will make me hate your story before I’ve even read it. See my previous post On Titles.


Well that was cathartic for me at any rate.

Did any of that ring true for anyone else? Or maybe you actually love flashbacks, lengthy fight scenes and tedious titles? Maybe I’m alone in disliking these things…

I know! Why not leave a comment below and share your own fiction pet-hates with the rest of the world? You might feel better if you get it off your chest. And if you enjoyed this post, be sure to follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if you feel so inclined.

Until next time!

8 Super Snappy Speed Reviews – Film

Spoiler Alert

While every effort has been taken to avoid spoilers, anyone who has not seen The Terminator (1984), The Green Mile (1999), Rogue One: A Star Wars Story (2016), Dune (1984), The Greatest Story Ever Told (1965), Star Trek Beyond (2016), The Illusionist (2006) or Les Misérables (2013) is hereby advised that this post may contain a few unavoidable spoilers.

It’s that time again! We’ve already had super snappy speed reviews for books and TV shows and now it’s time for the film edition. As before, the films I have reviewed here have been selected entirely at random from my ever-growing movie collection and do not necessarily have anything in common (apart from the fact they’re all films), nor are they necessarily films that I particularly liked or disliked, nor are they sorted into any particular order.

As always, these reviews only reflect my own personal opinions and impressions, squeezed, whisked and flattened into a few short sentences. So without further ado…

The Terminator

Arnold Schwarzenegger plays the title antagonist in this movie: a cyborg sent back in time from the future to kill the woman whose unborn son will one day lead the rebellion against the Machines of Skynet. It’s a real popcorn muncher, full of cheesy humour, senseless violence, time travelling robots and a guy travelling back in time to sleep with his best friend’s mum (who he’s always fancied) so that he can become his own best friend’s dad…

Still, it’s justifiably a cult classic. Very ’80s but I defy you not to enjoy it at least a little bit.

My rating: 3.5 stars

The Green Mile

Tom Hanks portrays the protagonist in this heart-wrenching, fantasy(ish) film set on death row in the 1930s. It’s definitely not a family film but it is arguably one of the most excellent movies I have ever seen in my life. If you like a film which really draws you in and stirs every emotion from the outset and leaves you with Mega Feels for hours after then this is definitely the film for you.

My rating: 5 stars + 

Rogue One: A Star Wars Story

Who doesn’t love Star Wars? This film is set in between the prequel trilogy and the original trilogy and follows the story of a group of rebels who have joined together to steal the plans for the Death Star. While the tone is somewhat darker than in traditional Star Wars movies, I didn’t find it nearly as outrageously different as some had led me to believe it was. For me, it stood comfortably alongside the other films in the Star Wars canon and was at least a thousand times better than the prequel trilogy.

My rating: 4 stars

Dune

The original Dune novels by Frank Herbert are as long as they are complex and I get the impression that that David Lynch (writer and director) was trying really hard to faithfully capture the beautiful complexity of Herbert’s creation in this movie. Unfortunately, the end result was a film which was poorly paced, unclear and frankly… a bit of a mess. It also includes one of my pet peeves: voice overs, allowing us to hear characters’ thoughts. On the plus side, it boasts a stellar cast including Sean Young, Patrick Stewart, Virginia Madsen, Max Von Sydow and Sting.

My rating: 1.5 stars

The Greatest Story Ever Told

In true 1960s Hollywood style, The Greatest Story Ever Told was a big budget and reverently embellished retelling of the life, death and resurrection of Jesus Christ (Max Von Sydow… again). If you’re looking for a film which is entertaining or exciting, you’ve come to the wrong place. Most of the characters do just seem to kind of stand and gawp unless they’ve got a line to read, though I must admit to a certain fondness for this film all the same. Also if you thought Dune had a famous cast, it is nothing compared to the legion of names you’ll see in the credits of this biblical epic.

My rating: 2.5 stars

Star Trek Beyond

It’s not quite as bad a Star Trek film as, say, Star Trek: Nemesis but still… it was pretty disappointing. The plot and the characters actually had a lot of potential (I really thought we were going to finally see some proper Bones/Spock banter), but this was unfortunately wasted by the poor pacing. The end result was nothing more than a non-stop, heart-thumping, thrill-ride that never really gave the audience an opportunity to be drawn into the story in any significant way.

My rating: 2.5 stars

The Illusionist

The Illusionist is a period drama about a stage magician (Edward Norton) from a humble background caught up in a love triangle/class war with his aristocratic love-interest (Jessica Biel) and her equally blue blooded but abusive fiance (Rufus Sewell).

The pacing was beautiful. The acting was delightful. The twist at the end was marvellous.

My rating: 4.5 stars

Les Misérables

I don’t think I’m the sort of guy to scrunch my nose up at a film just because it’s a musical, and everyone else tells me this adaptation of Les Misérables is the best thing since sliced bread but…

You asked for my opinion so I’m just gonna say it: I hated this film. I can’t think of anything less satisfying than watching Russell Crowe singing for two and a half hours. My wife enjoyed it though, if that means anything to you.

My rating: 1 star

My wife’s rating: 4 stars


And that’s a wrap! No doubt we’ll do it all again soon with a different selection of stories.

Until next time… !

The End…?

SPOILER ALERT

While every effort has been made to avoid spoilers in this post, anyone who has not seen the ITV TV series Doc Martin, the 2002 film Star Trek: Nemesis, or the ABC TV series Lois and Clark: The New Adventures of Superman (season 4) is hereby advised that this post may contain a few unavoidable spoilers.

It can be tough knowing when to call it a day with your fictional creations. Knowing exactly where and how to end your story in a way which is both memorable and satisfying is hard enough (though if you’re a novelist, you probably long for the day you can gather all your friends and neighbours around your desk to set off party-poppers while you write ‘THE END’ at the bottom of your manuscript), but if you’ve created characters and a world you’re proud of, you might never want to stop. You might feel like there’s a sequel, a trilogy or a whole saga of novels/films/TV series still to be written. Sooner or later, however, it has to come to an end – as all good things must.

‘But when?!’ I hear you cry.

It depends very much on your story. Some stories naturally lend themselves to a certain number of sequels. For example, if J.K. Rowling had stopped writing Harry Potter books after Harry Potter and the Philosopher’s Stone, her readers might have reasonably felt a little cheated. True, that particular story was complete (as it should be; every book in a series should still work as a self-contained story) but the premise of the story – a boy who discovers he’s a wizard and goes to a special school to learn magic – was still left very much open. After all, he still had several years of magic schooling to complete. There was plenty of scope for the character to go on another five or six magical adventures.

On the other hand, the ITV series Doc Martin – one of my favourite TV shows, I should add – is apparently due to have an eighth series in 2017. While I’m looking forward to it, I am, nevertheless, a little concerned that series 7 should have been the last one – and I’ll tell you why.

For those of you who don’t know, Doc Martin is a fish-out-of-water type story about Dr. Martin Ellingham; a grumpy and socially inept surgeon from London who develops haemophobia and is forced to become a GP in the seaside village of Portwenn. Most of the first few series focused on his awkwardly developing romance between himself and a local school teacher, Louisa. For the first four series or so, it worked quite naturally. In the dramatic finale to series 4, Martin and Louisa’s child is born and they resolve to give their relationship another go. It seems like a neat and tidy ending to the story…

But then, a 5th series was announced.

Is this necessary? I wondered. Hasn’t this story now finished?

Fortunately, I was pleasantly surprised by what followed. Martin and Louisa’s baby added a new dynamic to their on-off relationship and series 5 worked as well as the rest. Then there was a 6th series, which focused on their new and swiftly failing marriage. That also worked. Then there was yet another series which focused on the two characters trying to save their marriage – and another happy ending! Mr and Mrs Ellingham were again reconciled and life goes on. Once again, we have a neat and tidy ending to the story. They’ve got together, fallen out, had their baby, got together again, got married, split up and once again reconciled. I’m finding it difficult to imagine what more there is for Martin and Louisa to do that justifies another series that they haven’t done already – much as I love the show and wish it could last forever (and I do hope they prove me wrong once again).

So… when you feel the urge to write a sequel to your story, there is one very important question you should yourself before you write anything: ‘do I need to write more?’

There are three possible answers to this question:

  1. No, the story is complete and there is no conceivable way to expand the story without spoiling it (e.g., Star Trek: Nemesis — the final film in the Star Trek: The Next Generation series — ended with most of the series’ cast leaving the Enterprise for one reason or another. Since the series is so focused on the lives of that particular crew of that particular starship, further sequels would have been impossible).
  2. Yes, because there are still some glaringly obvious loose threads that need tied up (e.g., at the end of Doc Martin series 6, Martin and Louisa were still separated and Louisa was planning on moving to Spain. Is this the end for them? We needed another series to find out).
  3. Maybe. The original story has a satisfying ending, but there is no reason that our favourite characters cannot go on brand new adventures based on the same basic premise (e.g., the aforementioned series 4 of Doc Martin could have been a satisfying way to end it forever, but as it turned out, there was still some life left in the old dog after all).

If the answer is no, then it should be obvious what you must do – or not do, rather. It will all end in tears if you try to expand the inexpandable. The best you could hope for is a spin-off, and spin-offs are seldom any good.

If the answer is yes, then by all means, you absolutely must write that sequel! The last ever episode of Lois and Clark: The New Adventures of Superman ended with a baby wrapped in a House of El blanket, being left on Lois and Clark’s doorstep! That was it! No more Lois and Clark after that! I mean, what are they trying to do to us!?

If, however, the answer is maybe… then think, long and hard, before you write. To carry on a series, your newest offering must be both old (that is, the premise must be unchanged) and it must be new (no rehashing the same old adventures). The reason Harry Potter worked so well as a lengthy series of novels was that by using a school as the main setting and making each novel last roughly one academic year, Rowling was able to write seven very different stories based on exactly the same premise (though I can’t help feeling that more recent offerings, no matter how good they may be, are causing the saga to drag on beyond its natural lifespan). That’s what you need to be able to do, if you plan on writing additional stories for your fictional world. Identify the natural lifespan of your story and work within it. Don’t bombard your audience with extra waffle. I might enjoy a pizza, but if I was fed it non-stop, I would eventually vomit. A good story should end like a good meal; leaving the audience with a big feeling of satisfaction and only a small tinge of regret that it’s over.

A Few Thoughts on Star Trek Beyond

SPOILER ALERT

While every effort has been made to avoid spoilers, anyone who has not yet seen the film Star Trek Beyond is hereby advised that this post may contain a few unavoidable spoilers.

I’m a Trekkie, so naturally I’ve already been to see the latest offering of the franchise, written by Simon Pegg and Doug Jung: Star Trek Beyond. I’ll resist the urge to pull up the writers for the various inconsistencies there were with the original Star Trek universe (suffice it to say, there were some and we’re all very cross about it but let’s be honest, there’s always something isn’t there?) and, as ever, I’ll leave any analyses of the cinematics to those better qualified than I to make any kind of judgement about them (although I will quickly say that Chris Pine is doing a much better Kirk impression these days than he used to). What I want to talk about today is the story-writing in this specific film.

So, first things first: did I like Star Trek Beyond?

It was alright. It was better than Star Trek: Nemesis, for instance, but it wasn’t a patch on Star Trek II: The Wrath of Khan or even Star Trek Into Darkness. If visually spectacular space battles and non-stop action, excitement and danger are your thing then you will probably enjoy it. When boiled down to its basic elements, the plot was a little bit unremarkable: an angry alien (who is actually a human! Dun-dun-duun!) wants to unleash an extra-deadly bio-weapon into the ventilation system of the new Federation starbase Yorktown, which is home to thousands of innocent civilians from different Federation worlds (which is not entirely dissimilar to the plot of Nemesis, where an angry Reman  — who is actually a human clone! Dun-dun-duun! — wants to unleash an extra-deadly form of radiation into Earth’s atmosphere, but I’ll not say anything more about that).

In and of itself, there’s really nothing wrong with that kind of plot if it’s executed well. My main problem with Beyond was the pacing of the plot. It was fast and exciting almost from the outset, but as any good writer will tell you, speed and excitement cannot make a good story alone. Slower scenes, rich in dialogue and other details are important to allow for a build-up in suspense and to keep the audience abreast of what is actually going on. In particular, these slow scenes are essential for adding substance and meaning to a story. I felt like Star Trek Beyond was all action and excitement for the first two thirds of the film and then crammed most of the major plot developments into the final scenes, where it is suddenly revealed that Krall is actually a human who got stranded on that alien planet before the Federation was founded and kept himself alive using alien technology to sap something from the native beings on that planet and now he’s out for revenge – and it’s a real shame, because I think this film definitely did have something to say which was in keeping with the original spirit of Star Trek. Unfortunately, it was hard to hear over the noise of all the explosions, phaser fire and motorbikes.

I think what would have really improved this film would have been more slow scenes featuring Krall himself to give the audience some inkling into what was driving him. After Benedict Cumberbatch’s portrayal of Khan in Star Trek Into Darkness, poor Krall had a lot to live up to as a bad guy. He needed to be complicated and I think he had that potential, but unfortunately the pacing of the story was such that he came across as very two dimensional indeed. Perhaps if he had a right-hand man whom he could dialogue with (similar to the way scenes between Shinzon and his Viceroy in Nemesis foreshadowed the revelations which were still to come), it might have made the revelation of his human origins and his desire to avenge himself on the Federation seem a little less random and there would have also been an opportunity for some of his more complex thoughts and feelings to surface.

Speaking of under-cooked characterisation, there is also a subplot concerning Kirk and Spock’s friendship with each other and their respective futures in Starfleet, which is sadly lost amid all the excitement of the main plot. Having said that, I was very pleased to see that the relationship between Spock and Bones was allowed a little bit more room to develop in this film than it did in the previous two. Anyone who has ever watched the original Star Trek series featuring the late Leonard Nimoy and DeForrest Kelley in the aforementioned roles will tell you that their on-screen rivalry was the best in Star Trek history and it is good to see these two characters having time alone together to interact once again (although I did think that their dialogues with each other could have benefited from a few more scathing insults and sharp-witted jibes; it turned into a bit of a ‘bromance’ here and there, which isn’t really the kind of relationship you would expect from Spock and Bones).

All in all… it’s not a bad film. It’s not even a terrible Star Trek film, although it’s certainly not the best one I’ve ever seen. Even if you’re not a Trekkie, go and see it with some popcorn and a large drink in a paper cup and enjoy it for the entertaining escapism that it is.

Suspense: A Deliberately Awful Story

When I started this site, I had in mind to do a regular post (perhaps once a month) where I would set myself the challenge of writing a story using various random stimuli, such as plot generators, story dice or random images. If you’re a regular follower of this site, you’ll notice that I clearly have not made the regular habit of this I intended to. However, that doesn’t mean I’ve never done it and today’s short story came about as a result of a random creativity prompt provided to me by the Android app, Writer Unblocked:

In 1000 words or less, write what happens when a B-movie director gets stuck between floors in an elevator.

When I got this prompt, I couldn’t help but think that it actually sounded a bit like a B-movie about a B-movie director so naturally I thought it would be a bit of a wheeze to write it in screenplay format (or at least, as close to screenplay as I could get it; I’ve never actually written a screenplay before and WordPress has rather messed up my formatting) and give it the paper thin plot, terrible dialogue and half-naked robo-bodybuilder you would expect to find in a B-movie. My tongue was, as you might expect, firmly embedded in my cheek when I wrote this. So without further ado, I give you…

SUSPENSE

by

A. Ferguson

FADE IN:

EXT. FALLBRIDGE UNIVERSITY CAMPUS – EARLY EVENING

Modern and stylish university building, surrounded by leafy green trees and basking in a brilliant sunset.

DISSOLVE TO:

INT. LECTURE THEATRE – EARLY EVENING

No one is present in the lecture theatre, save for JOHN, an ageing bachelor, lecturer in English literature and b-movie enthusiast. In his spare time, he has even directed a few budget films. He is tidying up various papers, preparing to leave. The door opens to reveal SUSAN; a bright, vibrant young woman who must be intelligent because she goes to university. Sweet as chocolate strawberries dipped in sugar.

SUSAN

(embarrassed)

Oh, hello professor!

JOHN

Susan? What can I do for you?

PETER becomes visible loitering behind the open door; a cocksure lad with an elaborate hairstyle and various accessories. A walking fashion statement. At that moment he is being uncharacteristically shy. He is SUSAN’s boyfriend.

SUSAN

I was just looking for… um… my purse. I wondered if I left it here.

JOHN

Of course you were. Hello Peter!

PETER

Hello, professor.

JOHN

Well Susan, I’ve had lectures all day and nobody’s handed it in. Did you try the office downstairs?

SUSAN

Oh, how silly of me! I’ll try there now.

SUSAN leaves hastily just as JOHN finishes packing away the last of his things and follows them into the–

CORRIDER

The elevator door is just beginning to close. JOHN runs towards it.

JOHN

Hold the lift!

He manages at the last moment to slide into the —

ELEVATOR

PETER and SUSAN are there already along with RACHEL, a brilliant student of robotics. She is wearing a white coat and glasses, because she’s a scientist obviously. PETER and SUSAN are already talking with her when JOHN gets on the elevator. JOHN presses the elevator button and the doors close. The lift moves down.

RACHEL

The PN-STKN Unit is also connected to the internet, giving it full access to the sum total of human knowledge. There’s still a few kinks to work out in its software, but at least my part’s done! Once it’s on, it’ll be almost indistinguishable from a real man.

PETER

(winking)

I bet it doesn’t do everything a real guy can.

RACHEL

Not quite. He’s very gentlemanly.

SUSAN and RACHEL laugh. PETER is humiliated.

JOHN

(V.O.)

Robotic men… that’s silly, you only get those in movies. Heck, the one we had in ‘The Grim Robot’ sounded more plausible than this girl’s science project.

Suddenly the lift shudders. The lights flicker and go out.

SUSAN

What was that?!

JOHN

Nothing. Lift’s probably just stuck.

SUSAN

(suddenly panicking)

I don’t like small spaces!

PETER holds SUSAN protectively.

PETER

It’s fine, we’ll be out in no time. Won’t we professor?

JOHN

Of course we will.

JOHN begins thumbing the emergency button. Nothing happens. He tries repeatedly, scowling.

PETER

Maybe you need to hold it?

JOHN holds the button and speaks into the speaker on the wall.

JOHN

Hello? Can anyone hear me?

There is an almighty bang from above. The lift begins to sway. Another almighty bang, as if something heavy has landed on the roof of the lift. SUSAN screams. A large, dark grey fist bursts through the ceiling. SUSAN screams again.

JOHN

What the – ?!

RACHEL

It’s the PN-STKN Unit! It wasn’t due to be activated until next week!

PETER

Well, it’s definitely active now… and it’s coming for us!

The fist punches through the ceiling again, making the hole bigger.

PN-STKN (O.S.)

Humans are inferior! You must be destroyed!

SUSAN screams. Two dark grey hands begin to pry the hole in the ceiling open even further.

JOHN

Quickly, how do we shut it down?

RACHEL

You can’t, not if it’s gone active! I built it to be like a real man, only better! There’s no off switch!

PN-STKN (O.S.)

Humans are inferior! You must be destroyed!

JOHN

If only there was a bunch of jumped-up kids here, they’d know what to do!

The hole in the ceiling is now wide enough for us to see PN-STKN; a dark grey man with obscenely large muscles wearing nothing but black briefs and a black leather waistcoat. His hair is black and slicked back. He happens to have a large circular saw in one hand, held close to the elevator cable.

PN-STKN

Humans… Stand clear of the doors.

JOHN produces a gun from out of nowhere and shoots frantically but its bullets have no effect.

PN-STKN

Your weapons are inferior.

PN-STKN shoots lasers from its eyes and vapourises SUSAN.

RACHEL

I am your creator! Stop what you’re doing!

PN-STKN

Negative.

The saw begins cutting through the cable with a shrill whine.

PN-STKN (CONT’D)

Going down.

PETER

(tearfully)

He killed Susan! Why did you have to kill her?! She was no threat to you!

PN-STKN

Your emotion makes you inferior. You must die.

JOHN

(suddenly inspired)

No! No, it doesn’t! It makes us superior!

PN-STKN

Negative.

JOHN

I can prove it!

RACHEL

Professor, what are you doing?

PN-STKN hesitates. The saw stops spinning.

PN-STKN

Proceed.

JOHN

Ok… you shot Susan, not Peter; yet Peter suffers.

PN-STKN

Peter is illogical.

PETER

No, I’m not! I’m sad because… because I loved her man! And now she’s dead! It’s totally logical! There’s nothing more logical!

PN-STKN

Love makes you weak. Weakness makes you inferior.

JOHN

You have access to the whole internet don’t you? Well Google this! ‘Tis is better to have loved and lost than never to have loved at all’! Better, you see? Love is better than no love!

PN-STKN

Illogical. Love is weakness… yet is better?!!

PN-STKN’s head explodes.

JOHN

This lift’s full.

RACHEL

Well done professor!

PETER

You did it! Next time, though, I’m taking the stairs!

They laugh. The lift continues moving and the lights return.

DISSOLVE TO:

INT. LIFT SHAFT BOTTOM.

Smoldering robot parts litter the floor. A single disembodied hand begins to move!

FADE OUT.

If You Don’t Like Mysteries, You’ll Love Mr. Holmes

SPOILER ALERT

Although every effort has been made to prevent spoilers, anyone who has not yet seen the film Mr. Holmes (2015) or read the novel A Slight Trick of the Mind by Mitch Cullin is hereby advised that this post may contain a few unavoidable spoilers.

Last year, I was standing waiting for a bus when one passed by (not the one I was waiting for) with a poster on the side, advertising a new film that was about to be released. The poster was plain white apart from a very well dressed and sour faced Ian McKellen. The title of the film was Mr. Holmes.

‘Oh, a new Sherlock Holmes film.’ I thought, my interest piqued. ‘I must remember to make time to go and see that.’

Suffice it to say I did not remember and, whether it was because of my own poor fortune or because the film was inadequately publicised, I did not see hide nor hair of that film again until this very year when I was perusing Amazon for something to watch and it recommended this little gem to me. The reviews on Amazon were generally good but there were also enough negative reviews to give me doubts. However, being a big fan of Sherlock Holmes and knowing that Ian McKellen’s acting is always a joy to watch (no matter how bad the rest of the film is) I decided to give it a chance.

In this film, Sherlock Holmes is now in his nineties and is struggling with his failing memory. He has long since retired to a farmhouse in Sussex where he lives in relative solitude apart from his housekeeper, her son and the bees he now keeps. Because of his failing memory, he cannot precisely remember how his last case as a private detective ended; however, he is certain that the now deceased Watson’s novelisation of it cannot be correct because it portrays Sherlock as having solved the case triumphantly, as he always does. Sherlock cannot accept that he would have retired except after a terrible failure, and so, with the encouragement of his housekeeper’s son and consumed with guilt over something he cannot fully recall, he tries to write the story of the case as it truly happened. Meanwhile, his housekeeper is growing increasingly restless with her role as Sherlock’s housekeeper-come-nurse and resolves to move to Portsmouth with her son, who has grown very attached to Sherlock. There is also a sub-plot concerning a Japanese man who lures Sherlock to Japan in order to confront him about the disappearance of his father, for which he blames Sherlock.

If you’re looking for a ‘who dunnit’ or another exciting instalment of The Adventures of Sherlock Holmes, you’ve come to the wrong place. Sherlock goes on no adventure in this story, nor is there a particularly mystery to be solved (unless you count his attempt to remember what he has forgotten). Unlike more traditional Sherlock Holmes stories, Mr. Holmes is gently paced and driven by its key themes: regret, ageing, death and senility. I know that probably makes it sound like quite a miserable film, but in reality I found this film to be surprisingly light-hearted and sweetened with a light dusting of humour and sentimentality.

This film is particularly concerned with giving us a glimpse at the real Sherlock Holmes, as opposed to the ‘character out of a pantomime’ he feels he has become through the novelisations and dramatisations of his various cases. Indeed, Sherlock himself appears keen to distance himself from that character. For example, there is a reference at one point to the fact he does not have his deerstalker or pipe. The reason for this, he claims, is that the deerstalker was a mere embellishment and that he prefers a cigar to a pipe; especially now that the pipe has become nothing more than a ‘prop’. It is also revealed to us that 221B Baker Street was, in fact, not his actual address but a deliberate attempt to mislead fans and tourists who were intent on visiting him.

As well as his obvious trademarks, his own personality is also very different from the character we are used to. The writers (and, I should add, McKellen himself) have done a fantastic job here of showing us the other side of Sherlock, without making him a different person altogether. His paternal feelings towards his housekeeper’s son, for example, seem to be a far cry from the cold hearted mystery solving machine that we are all so familiar with. In spite of this, he still retains his uncanny ability to tell everything a person has done simply by looking at them and his philosophy that the truth will always be uncovered by careful analysis of the facts. While he does retain a certain bluntness and an apparent cold heartedness, this seems to be little more than veneer (a thin one at that) which he uses to distance himself from difficult feelings. His warmth towards his housekeeper’s son, the empathy he shows towards his client’s wife and his regret over her death and the deaths of his friends make him seem altogether more human.

His attitudes towards death strikes me as particularly important. He approaches his own looming demise with an apparent nonchalance and claims never to have mourned the dead – bearing in mind that this is set after the death of John Watson, Mycroft Holmes and Mrs Hudson, all of whom were key figures in Sherlock’s life.

I can’t say that I’ve ever mourned the dead, bees or otherwise. I concentrate on circumstances. How did it die? Who was responsible? Death, grieving, mourning; they’re all commonplace. Logic is rare (Mr. Holmes 2015).

This air of indifference is typical of the traditional Sherlock; in Mr. Holmes, however, it sounds quite hollow. The fact that he was powerless to prevent his client’s wife from killing herself, despite recognising all the facts, has affected him deeply – to such an extent that it drove him to retirement. He also regrets that, after breaking off contact with Watson, he never had a chance to say goodbye to him before he died. When his housekeeper’s son is nearly killed by a swarm of wasps, he sees all the evidence of what has happened and, uncharacteristically, assumes it must have been his bees that were to blame (at least at first) rather than notice that the evidence clearly implicates a nearby nest of wasps. While most of us might consider this a normal reaction to finding a boy lying bruised and unconscious next to a hive of bees, it is rather atypical of Sherlock Holmes. The film also ends with him setting up memorial stones for everyone he has lost (or at least, everyone we have heard of anyway)

All in all, this is a enjoyable and easy to watch film but I would certainly caution any lifelong Sherlock Holmes fan that Mr. Holmes is best enjoyed if you approach it with absolutely no preconceptions about what a Sherlock Holmes film should be. It is a very good piece of cinema but it is not a typical Sherlock Holmes film by any stretch of the imagination, nor does it try to be. It’s not a mystery. It’s not an adventure. It’s a drama and a pretty decent one at that. Approach it as such and you will probably come away satisfied.

Accounting for Taste

I’ve got a confession to make.

I don’t like A Song of Ice and Fire by George R. R. Martin. There, I’ve said it.

The strange thing is that I generally do like long and complex fantasy and there’s no denying that Martin is a very good writer… But as I slogged through the first two books of A Song of Ice And Fire, I became increasingly conscious that I was only persevering with it because I felt like I had to; partly because in my pride, I never like to leave a book half read and partly because everyone else seems to like it. But when you’re really not enjoying a story and there’s still another whole five books left to read after you finish the one you’re on, there’s only one course of action.

Even as I write this, I can feel my fellow book-lovers judging me for (temporarily!) giving up on it and my fellow fellow fantasy-readers judging me for not liking one of the most popular fantasy authors of his generation. But why waste your life reading books you’re not enjoying?

The truth is, there’s a lot of snobbishness surrounding fiction. People who read literary fiction often look down upon people who read genre fiction; people who read hard sci-fi often look down their noses at people who watch Star Trek or Doctor Who; people who read anything at all often judge those who prefer to get their fiction-fix from TV than the pages of a book; most bizarrely of all, there seems to be some dispute about whether or not e-books constitute ‘real’ books.

Am I alone in finding this a little strange? No matter how much I may love fiction (and I do!), it is, ultimately, just that. Fiction. Untruths. Entertaining lies. Why, then, does it matter which ones we enjoy and which ones we don’t? We often speak of our ‘guilty pleasures’; TV shows or books we like but know we shouldn’t but… hold the bus! Why shouldn’t we?

I earlier referred to my dissatisfaction with A Song of Ice And Fire. I should say that I am not for one second suggesting that Martin wrote a bad story. It’s a very clever story, a very well developed fantasy world and very well written but… it just wasn’t for me. Equally there are some things I do like but feel irrationally guilty about, usually because they are mindless escapism without any real substance to them. Normally I prefer to read something with a bit of meaning to it but why should that put me off enjoying the odd bit of drivel, too?

So, I think it’s time for a change. I think it’s time we all just read what we like to read, write what we like to write and ditch whatever doesn’t suit us. What you’re about to read is my completely unashamed, unabashed Confession of my Fiction Preferences (okay, so it has been slightly abridged but only because I like to keep my word count to under 1000 words per post).

My Unashamed, Unabashed, Heavily Abridged Confession of Fictional Preferences

  • I liked The Lord of the Rings books, but not the films.
  • I like fantasy in general, especially if it is based on myth.
  • I loved Ben-Hur: A Tale of the Christ by Lew Wallace and the subsequent 1959 Hollywood epic based on it.
  • I loved the unabridged version of The Count of Monte Christo by Alexandre Dumas, translated by Robin Buss. I’ve never seen the film.
  • I love Sherlock Holmes. I particularly enjoyed:
    • the original stories by Sir Arthur Conan Doyle,
    • The House of Silk and Moriarty by Anthony Horowitz
    • Whitechapel: The Final Stand of Sherlock Holmes by Bernard Schaffer
    • the BBC drama Sherlock
    • Jeremy Brett’s unique portrayal of Holmes.
  • However I do hate everything about the CBS TV show, Elementary.
  • I am a full blown Trekkie. I love everything about Star Trek (including the Abrams reboots!) except for Enterprise.
  • In spite of being a Trekkie, I also love Star Wars (however I still have not seen The Force Awakens).
  • I love Doctor Who (BBC sci-fi drama TV series)My favourite Doctor of all time is Tom Baker although Peter Capaldi is in serious danger of becoming a close second. It’s just a shame he is wasted on the disappointing stories that have been produced recently.
  • In fact, I just love sci-fi and speculative fiction in general. Sci-fi books I particularly enjoyed included:
    • The Man In The High Castle by Philip K. Dick,
    • Dune by Frank Herbert,
    • The End of Eternity by Isaac Asimov,
    • the Awakened series by Jason Tesar,
    • Becoming Human by Eliza Green and
    • The Space Trilogy by C.S. Lewis.
  • I do not like disaster films.
  • I do not like horror films.
  • I do not like rom-coms.
  • I hate Twilight and everything similar to Twilight. In fact I hate anything to do with vampires which isn’t Dracula.
  • I thoroughly enjoyed The Illusionist (2006 film) but I don’t know anyone else who has ever seen it.
  • John Steinbeck is one author who can do no wrong.
  • I love Agatha Christie’s Poirot. The best actor to portray Poirot was David Suchet.
  • I do not like Agatha Christie’s Miss Marple.
  • I got bored of A Song of Ice and Fire by George R.R. Martin.
  • I think Harry Potter is overrated at best.
  • I do not like Friends (NBC sitcom)Sue me.
  • I never met a C.S. Lewis book I didn’t like and I regret that he didn’t write more stories.
  • Remember what I said about guilty pleasures? I like Holby City (BBC medical drama). Sue me again.
  • I love Doc Martin (ITV comedy drama).
  • I love Fawlty Towers (BBC sitcom).
  • I love Only Fools and Horses (BBC sitcom).
  • I like most of the James Bond books and films. Daniel Craig is my favourite Bond with Roger Moore a close second.
  • I like superheroes in comics and movies.
    • I do not care too much for the darker manifestations of Superman that we have been seeing recently. I recently re-watched the ’90s TV show Lois and Clark: The New Adventures of Superman. It was very cheesy but that didn’t stop me watching all four seasons.
    • The Amazing Spider-Man (films) were oh-so-much-better than the Spider-Man films featuring Toby McGuire.
    • I liked the first two Batman films. I wasn’t so fussed about Batman Forever. I did not like Batman and Robin. I love The Dark Knight trilogy.
  • I like the Christopher Marlowe play, Doctor Faustus.
  • I bitterly regret being the only British person in history to have gone through the whole school system without a single lesson on the work of Shakespeare.
  • Yes, I do think e-books are just as valid as paper books, though I will admit that paper books have a delicious smell you don’t get with e-books.

The Essential Voice of Red

I may have previously given the impression that I generally don’t like it when good stories get adapted to suit another medium, such as when a book is adapted for film. If that is the case, I owe you an apology because that is not exactly what I meant and it is certainly not true. Remakes and adaptations often can be very good if they are made by someone who knows exactly what they are doing.

The Shawshank Redemption (written and directed by Frank Darabont) is, in my opinion, one of the most splendid films I have ever had the privilege of watching, based on the equally splendid Stephen King novella, Rita Hayworth and Shawshank Redemption. I don’t want to give away too much of what happens (though really, you should have either read it or watched it by now; everyone should have) but suffice it to say that it is set in the Shawshank State Penitentiary and follows the story of a man called Andy (portrayed in the film by Tim Robbins) who befriends a fellow convict called Red (Morgan Freeman) while serving a life sentence for murder. In both the book and the film, Red also acts as the narrator. There are lots of good things about the film adaptation I could focus on, but it’s the narrative voice in the film and the book I want to focus on just now, because it is a prime example of a director demonstrating that he knew exactly what he was doing.

At first, Morgan Freeman might seem like an odd choice to play a character who the book describes as a middle-aged Irish man with greying red hair. A less skilled director may have been tempted to simply cast a good actor who more or less fitted the physical description. Wonderful an actor though he is, this would clearly not be Morgan Freeman. No accent he could put on would change the fact that he simply does not look like a middle-aged Irish man with greying red hair. But when you read Rita Hayworth and Shawshank Redemption, it is hard not to hear Morgan Freeman’s distinctive voice on almost every word.

Narrative voice is always important in fiction but especially in Rita Hayworth and Shawshank Redemption. The narrative is more reflective than descriptive, giving us only snapshots of how Red remembers the specific events that occurred in Shawshank during the twenty-seven years of Andy’s incarceration, woven together in such a way as to create a fully fledged description of how Andy arrived at Shawshank, protected himself while there and eventually made his dramatic exit, rather than giving us a blow-by-blow account of everything that happened to Andy or to Red.

It is this, the narrative voice in the book, that makes this role so right for Morgan Freeman. Other very famous and very excellent actors were considered and they might have even been able to do the character justice to some extent but I doubt if anyone else could have pulled off the voice-over narration quite the way Morgan Freeman did. There was a worldly-wisdom about Red in the novella which suits the type of character Morgan Freeman typically plays so well. He observes what is going on around him and he evaluates his own relationship with Andy in that philosophical and darkly humorous way that we have come to expect from Morgan Freeman. Given that the novella is written in the form of Red’s own reflections on his relationship with Andy through-out the course of his sentence, I think it was probably essential that this narrative voice, created by Stephen King in the novella, was maintained for  Darabont’s film adaptation.

I suppose it could be because I’ve seen the film that I imagine it in Freeman’s voice but I don’t think so. I’ve seen Live and Let Die more times than I care to number, but when I read the book, the 007 I encountered there was more like Daniel Craig’s Bond than Roger Moore’s. It wasn’t just what he said; it was how he said it. James Bond in the novels is a far colder man the somewhat playful character Roger Moore portrayed, no matter how alike the basic plots may be. Craig’s crisp, masculine voice delivers each short, bitey line in a way which fits the cruel persona we find in the books. The same is true of Red in Shawshank, though Bond gets away with using a wider variety of actors far more than Shawshank would have because the different kind of narrative voice it employs made voice-over narration unnecessary in the Bond films.

Of course, Morgan Freeman does not single-handedly make The Shawshank Redemption the movie it is. There are a million other good reasons to watch this film and all of the actors give a top-notch performance but for me, the actor Darabont cast to play Red was a make-or-break decision for this adaptation on account of that magnificent narrative voice employed in the novella and I’m pleased to say that when it came to casting for The Shawshank Redemption, Darabont chose well.